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52 1. Stone passage between two structures 2. Staircase 3. Lobby 2 3 1. 两个建筑结构之间的石子小璐 2. 楼梯 3. 大堂
53 Radisson Blu Hotel – Dakar Location: Dakar, Senegal Architect: SAOTA (Stefan Antoni Olmesdahl Truen Architects) Interior Design: Antoni Associates – Mark Rielly, Vanessa Weissenstein, Andy Malcomess & Ashleigh Gilmour Photographer: Jon Case & Vauban Radi Completion date: 2009 Site area: 30,280 m2 Gross Floor Area: 2,968 m2 Overlooking the Atlantic Ocean and tucked away in the Fann Corniche, an area that houses exclusive villas and international embassies, the new Radisson Blu Hotel is a contemporary expression of Senegalese Style. The brief called for 180 suites, a fine dining restaurant, an all-day restaurant, conference facilities, meeting rooms and administration facilities. Approach The angled diagram of the building was developed to take full advantage of the ocean views towards the West; the dramatic entrance and quadruple volume foyer space with spiral staircase is the primary node connecting the rooms to the pool and restaurant levels below and the conferencing facilities. The Filini fine dining restaurant overlooks the pool and the main entertainment terrace, and opens up to a terrace providing a vantage point to appreciate Dakar sunsets. A semi private courtyard adjoins the conferencing facilities and can be used for weddings and larger events. Deep reveals and aluminum screens articulate the façades and prevent excessive heat gain. The interior architecture and decor were developed by Antoni Associates. Materials used The interiors act as a fusion between the minimal contemporary architecture and the strongly emphasised contemporary African aesthetic. Natural materials such as stone, rock, wood and sandstone are contrasted with strong African forms, motifs, embellishments and striking earth coloured tones. The cornerstone of the design is the ultra chic Senegalese woven fabrics which currently being used worldwide and dyed in a vivid palette of vegetable hues – indigo, henna, saffron and ochre. These woven designs incorporate traditional Senegalese motifs such as the hair comb and animalist forms and were carried on throughout against the neutral background colours and natural surfaces. The public spaces are where the architects expressed most strongly the design intent. These areas have a 'Gallery' element and feel. Scale, form and texture are key elements and allow the interior spaces to become vast neutral toned canvases on which Pan African art & artefacts were displayed. Due to the corrosive environment the palette of external materials were driven by durability. Aluminium used for the screens and external canopies was sourced from Abidjan (Cote d'Ivoire). Timber and steel were used sparingly and only for internal features or elements. Certain feature walls were clad in stone. 1. The feature floating roof cantilevers over the entrance creating an inviting portecochère for the hotel 2. Sun screens create a sheltered space on the rear courtyard 3. A view of the triple volume entrance from the Filini restaurant terrace 1 雷迪森蓝色酒店 项目地点：塞内加尔，达喀尔 建筑师：SAOTA建筑师事务所及AARS建筑事务所 室内设计：Antoni事务所 摄影师： 乔恩·凯斯&沃班·拉迪 完成时间：2009年 占地面积：30,280平方米 建筑面积：2,968平方米 酒店位于Fann Corniche区（高档别墅及大使馆聚集区），俯瞰大西洋，共包括180间套房，一个宴会厅、 一个全天候餐厅、会议室及办公区。在设计上以现代化的手法对塞内加尔风格予以诠释。 策略 角状的造型旨在充分利用西侧的大洋风光；超大的入口以及宽敞的大厅让人备感开阔，螺旋状的楼梯将泳 池、餐厅以及会议区连通；宴会厅俯瞰泳池及露台，可欣赏晚霞的美景；半开放的庭院与会议区相连，可 用于举办婚礼或大型活动。建筑表面的铝网结构不仅增添了活力气息，更可反射多余的热量。 材质 室内设计结合了当代简约建筑风格与浓重的非洲美感——石头、木材、砂石等自然材质与非洲特色的造 型、图案、饰物及泥土色调形成鲜明对比，同时亦完美融合。其中，织物被大量运用，上面呈现出独具非 洲特色的图案，如梳子、动物等。公共区的布置给人“画廊”的感觉，充分展现了设计的主旨。建筑外观 材质的选择基于“耐腐蚀”的原则，铝网及入口顶棚原料来自阿比让（科特迪瓦首都），木材和钢材使用 较少，特色墙采用石头覆面。 1. 入口处悬臂屋顶 2. 遮阳结构在后侧庭院内营造了一处阴凉区域 3. 从餐厅露台处观看三层高的入口
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55 1. A view of the triple volume public area with a feature mobile suspended in the void 2. A view of a hotel suite showing the dressing area and en-suite bathroom 3. The bathrooms are modern & linear in design 1 1. Atrium 2. Foyer 3. Bedroom suites 4. Admin 5. Triple volume 6 Conference room double volume 7. Bedroom suites 1 2 3 4 5 6 7 Ground floor 1. 三层高的公共区及独特的悬浮结构 2. 带有化妆间及浴室的套房 3. 风格现代的线形结构浴室 1. 中庭 2. 大厅 3. 客房 4. 行政区 5. 三层高度空间 6. 会议室 7. 客房 一层
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57 1. The main conference room being sub-divided into three smaller meeting rooms 2. Onyx bar on the ground floor pool level 3. Feature timber screens between the Filini kitchen and the fine dining restaurant 1 1. 分割成3个小空间的主会议室 2. 一层缟玛瑙材质吧台 3. 餐厅及厨房之间的木帘隔断
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59 Location: Brescia, Italy Architect: Alberto Apostoli Architecture & Design Photographer: Davide Mombelli Completion Date: 2010 Gross Floor Area: 4, 700 m2 Hotel Villa & Resort Luisa In May of 2010, Hotel Villa & Resort Luisa reopened after a major renovation. The hotel is situated on a hill and surrounded by olive and cypress trees, where the guests can enjoy a breathtaking view of the lake. It can also be accessed from the small port by climbing cobblestone alleys in between stone houses of the old village. The restyling relates to the duality between the existing territory and the sober modernity, readable both inside and outside the structure. This dualism has resulted in the work through a continuous curved line that links the interior design with the outdoor area, boosted by exchange of materials and finishes, from a particular lighting design and a sophisticated use of ceiling plaster. Neutral colours and natural materials of the tradition are a tribute to the local culture, the 'circle' and shades of white were thought to highlight the contemporary style of the structure. An important use of transparencies and reflections is the bridge between design and folklore. The swimming pool offers the same formal features of the interior design and it combines two circles. When they are seen together, they form an enlarged shell. Some water blades protrude from the rock, excavated in part to derive the pool. Another circular pool, which was built especially for children, completes the area. The access to some of the rooms is only from the outside. It is a choice of the architect who wants to show guests the beauty of the hill. Some interpretations of traditional areas, such as the balcony with a marble compass and roses grown on the ground, enrich the outside area designed for the creation of artistic events or get-togethers. 1. Garden 2. Pool area 3. Entrance steps and grassland 4. Outdoor resting area and pool 1 2 项目地点：意大利，布雷西亚 建筑师：欧帕图·阿帕斯东尼建筑设计事务所 摄影师：Davide Mombelli 完成时间： 2010年 建筑面积：4,700平方米 路易莎度假酒店 路易莎度假酒店坐落于山上，四周环绕着郁郁葱葱的橄榄树和柏树，还可以欣赏到美丽的湖景，经翻修之 后，于2010年5月重新开业。客人走过石屋之间的鹅卵石小巷，经由一个小港口便可到达。 翻修设计既要符合地域特色，又要赋予其恬淡的现代风格。一道蜿蜒曲折的矮墙将室内外连通，材质与装饰 的“交流”、独特的灯光设计以及精致的石膏屋顶满足了全部要求。 中性的色调以及天然的材质突显了当地文化特色，“圆形”结构以及白色调则彰显了现代感。透明材质与光 影样式的运用犹如在设计和传统之间构架了一道桥梁。室外泳池的设计同样延续室内风格——两个半圆形的 结构从远处望去构成了一个巨大的壳状物。另外一个圆形泳池专为儿童设计。 部分客房只能从外面直接进入，专为那些喜欢山景的客人设计。露台上种满玫瑰，为聚会提供了完美之所。 1. 花园 2. 游泳池 3. 入口台阶及草坪 4. 室外休息区及游泳池
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61 1. Reception and lounge 2. Lobby with white and blue as the main tones 1 Ground Floor Plan 1. Restaurant (outdoor) 2. Restaurant (indoor) 3. Reception and hall 4. Entrance 5. Offices 6. Lounge and relax area 7. Outdoor lounge area 8. Bar 9. Outdoor bar 10.Guestrooms 11. Pools 12. Garden 1 2 3 4 5 6 7 8 9 10 11 12 1. 接待台及休息区 一层平面图 2. 白色、蓝色为主色调的大堂 1. 室外餐厅 2. 市内餐厅 3. 接待台及大厅 4. 入口 5. 办公室 6. 休息室及休闲区 7. 室外休息区 8. 酒吧 9. 室外酒吧 10. 客房 11. 泳池 12. 花园
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64 1. Bar with unique ceiling 2. Restaurant 3. Corner view of lobby 2 3 1. 酒吧内独特的天花 2. 餐厅 3. 大堂一角
65 La Mola Hotel and Conference Centre Location: Barcelona, Spain Architect: b720 Fermín Vázquez Arquitectos Photographer: Joan Argelés, Adrià Goula Completion Date: 2008 Site Area: 17,400 m2 La Mola Hotel and Conference Centre is located on a site adjacent to the new El Prat Golf Club, in the natural reserve of Sant Llorenç de Munt I l'Obac (Terrassa). The project involves the construction of a hotel complex of 186 rooms with complementary services, meeting and convention spaces, auditoriums, multipurpose rooms and other services related to health and wellness (spa area, fitness, etc.). To avoid the strong visual impact that a complex of such dimensions could cause in this environment, it has been chosen to split the program into four prismatic buildings which don't exceed in height the surrounding forests, thereby a better implementation and integration is achieved. The colour becomes a contextualised mechanism that, far from seeking to camouflage, it proposes an artificially conscious emulation on an unnatural support in an intentional correlation with the nature of the forest and the artificial nature of golf. Two of the volumes house the rooms settled out longitudinally along a central corridor on three floors above ground. The rooms on the south façade have balconies and a sunscreen formed by some mobile slides of perforated sheet designed as a large coloured curtain. Their tones and volumes are blending with the colour of the existing vegetation in an intentional game from an area located between a forest and the 'artificial nature' of the golf course. A third prismatic volume, similar but of greater height between floors, hosts the conventions centre. In a central position between these three volumes, there is a fourth building housing the common areas that function as an access core and general distributor of the complex. La Mola Hotel and Conference Centre was proposed as an architectural design that respects the natural environment in which it is situated. Thus, most of the trees of the place remained in its initial location and a lower part of them were transplanted. Furthermore, the plot was populated with trees to form a garden where irrigation is resolved entirely by the recycling of gray water generated in the centre. Extensive areas of glass façades allow maximum use of natural light in winter while in summer the adjustment of various solar control systems prevents the overheating of the stays. Moreover, the system allows free cooling in a controlled way the favourable conditions of the outside air, thus reducing the need of artificial air conditioning. Solar panels located on the roofs of two buildings help to reduce energy consumption for the generation of hot water. The predominant use of concrete, combined with pine wood closures and decks gardened, provides a whole unit making it a peaceful space, integrated into its surroundings. The outdoor areas have been addressed by creating paths and landscaped areas of rest and meeting that interconnect with each one of the buildings. 1. Structure in front of the swimming pool 2. Colourful blind system 1 La Mola酒店及会议中心 项目地点：西班牙，巴塞罗那 建筑师：B720建筑事务所 费曼·巴斯克斯 摄影师：琼·阿格莱斯 完成时间：2008年 占地面积：17,400平方米 酒店位于Sant Llorenç de Munt I l'Obac自然保护区内，临近新建的El Prat高尔夫俱乐部，共包括186间客 房、会议区、礼堂、多功能室及休闲疗养区(水疗区、 健身室等)。为避免大体量的结构与周围的环境不相 协调，设计师将三个独立的建筑散落在山坡上，之间通过半隐藏在地下的结构连结。所有结构在高度上不 超过四周的树木，色彩的巧妙运用更是实现了与其所处背景的完美融合。 其中两幢建筑内为客房区，房间沿着走廊排列。朝向南侧的房间带有窗台，而带孔钢板拼接而成的彩色帘 子起到了遮阳的作用，并又一次在颜色上实现了与自然景观的融合。另一幢建筑在造型上与其余两个相 似，但层高较大，用作会议中心。三幢建筑之间通过又一结构连结，内部设计着公共空间，用于整个酒店 1. 游泳池 2. 彩色遮阳结构
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67 Award: 2009 FAD Architecture Award 1. General view and Surrounding landscape 2. Terraced grassland in front of the building 3. South façade 1 1. Lobby 2. Rest 3. Conference 1 2 3 内部的交通枢纽。 理念实施与景观设计 设计中采用了尊重周围自然环境的理念，因此原有的树木大部分保持不动，少部分移植到花园中，采用废 水浇灌。 玻璃幕墙被大量运用，在冬季可以最大限度地利用自然光，在夏季，则利用太阳能控制系统防止过热。此 外，该系统可以利用外部空气冷而减少人工空调。其中两座建筑物的屋顶安装有太阳能板，提供热水，有 助于减少能源消耗。 建筑的主要材料是混凝土和松木，营造了平和的空间氛围，与周围的环境结为一体。室外铺设了小路，并 设置了休息和集会场所。 获奖：FAD2009年度建筑奖 1. 全景及周围景观 2. 酒店前坡状草坪 3. 南侧外观 1. 大堂 2. 休息区 3. 会议室
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69 1. Lobby and lounge 2. Lounge 3. Small meeting room 1 1. 大堂及休息区 2. 休息区 3. 小会议室
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72 1. Doule-height cafe area 2. Lounge 2 1. 双层高度咖啡厅 2. 休息区
73 The Hilton Bandung Location: Bandung, Indonesia Architect: WOW Architects+Warner Wong Design (Singapore) Photographer: Patrick Bingham-hall, Wong Chiu-man, Hilton International Asia Pacific Pte Ltd Completion Date: 2009 Gross Floor Area: 30,000 m2 Bandung's topography, with its surrounding volcanic mountain range, inspired WOW Architects+Warner Wong Design to design the architecture, landscape and interiors of The Hilton Bandung into a multi-sensory integrated experience that embodies the spirit of Bandung. The site is at the heart of the city centre, a departure from the late 20th century trend locating resort hotels and villas in the foothills to the North away from the heart of the city. Located near to the Bandung Central Train Station overlooking a large land parcel previously occupied by a military facility, the hotel is a catalyst for revitalisation of the Urban Centre. Proximity to the train station provides easy access and encourages Indonesians seeking a weekend getaway from Jakarta to travel by train, thereby alleviating the busy road traffic. The Hilton Bandung has challenged the way hotels are designed and experienced in the Asian urban context. The building stands out, but does not compete with the predominantly art decostyled buildings influenced by Bandung's Dutch colonial past. Instead, it complements and reinforces the tradition of glamorous travel with which Bandung is associated. The resulting integration of the local urban and geographical characters shapes a seamless experience throughout the hotel that dissolves the boundaries between the inside and outside of the hotel and encourages interactions between hotel guests and locals within its public promenade. This hotel is conceived as an urban resort that integrates Javanese culture and visually engages the surrounding mountainscape. Playing with glass and natural stone-covered walls, it resonates with the city's heritage. Bandung's topography, with its surrounding volcanic mountain range, inspired the approach to sculpt the urban ground plane into a landform of 'cliffs' and 'valleys': a complex topography of public spaces creating interactive social spaces around a central atrium 'riverbed'. The landscaped ground plane is folded into a massive stone canyon wall facing the lobby, its carved texture inspired by a geometric Javanese batik pattern. As it extends upwards, it wraps up to the reception, ballroom, business centre, spa and culminates in the rooftop leisure retreat. The cinematic unfolding of spaces through the seamless integration of architecture, landscape and interior design was developed to offer a holistic multisensory experience. The room wings are suspended above the new topography in perpendicular double loaded blocks, the main wing facing north and south to the distant mountain vistas and the lower west facing block overlooking the leisure deck. From the lobby level, guests access their rooms from a discrete set of elevators, enabling them to retreat from the excitement of the public areas. Most rooms and suites, at a generous 40 square metres, were created to serve the travel needs of the typically very large and close-knit Indonesian family with a proclivity to stay together in one room. All rooms including their glass-enclosed bathrooms offer dramatic views of the mountainous perimetre, reinforcing the hotel's ambiance. Like the public areas, the rooms were completed with refined furnishings and rich materials inspired by the Javanese aesthetic. Touches of rich timbers, Ikat woven fabrics and Batik-inspired carpets continue the tradition of glamorous travel with which Bandung is associated. 1. Pool area in the night with charming lighting effects 2. Architecture fusing with the blue sky and green plants 1 万隆希尔顿花园酒店 项目地点：印度尼西亚，万隆 建筑师：WOW建筑事务所 摄影师：帕特里克·宾厄姆-霍尔、邱显铭、希尔顿亚太有 限公司 完成时间：2009年 建筑面积：30,000平方米 1. 灯光照射的泳池区夜景 2. 蓝天、绿树、青草掩映下的建筑
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75 Client: Tatang Hermawan Of P.t. Yuskitama Lestari Collaborator: Mr. Archica Danisworo, Planning & Development Workshop (Indonesia) 1. Large expanse of glass absorbing enough sunlight 2. Glass and natural stone-covered façade 1 1. Parking 2. Entrance 3. Resting room 4. Restaurant 5. Lobby 6. Washing room 7. Business centre 1 2 3 4 5 6 7 2 WOW建筑事务所负责万隆希尔顿花园酒店的建筑、景观及室内设计。万隆四周环绕着火山群，建筑师正是 从这一地形特点中获得灵感，打造了一个集多种感官体验于一身并体现当地文化与特色的酒店胜地。地处万 隆市中心，毗邻中央火车站——如此优越的地理位置使其俨然成为城市中心的活化剂。 建筑师摒弃了亚洲特色酒店设计风格——看似很“突出的”结构却并未与周围艺术装饰风格（荷兰殖民风 格——Art Deco）建筑相抗衡。相反，它更完善并深化了万隆这座城市本身所孕育的传统。地域文化与地形特 色的相互融合带来了“无缝体验”， 打破了建筑内外的空间界限，同时更促进了酒店客人与当地居民的沟通。 酒店本身被视为“城市度假胜地”，融合爪哇岛国文化及美丽的山间景致。玻璃及天然石才打造的外观突出 了城市特有的财富；“峭壁”、“峡谷”等多种地形样式彰显了公共区的特色，同时围绕中庭形成了一系列 的活动交流空间。朝向大堂的巨型石墙从爪哇蜡纺印花图案中获得灵感打造而成，一直向上延展，将接待 区、舞厅、商业中心、水疗及顶层休闲区“围和”起来。 客房区设立在垂直结构内，南北两侧可欣赏远处的山间美景，而西侧可以观看休闲景区的风光。客人经由大 堂的电梯，便可到达客房。多数房间的面积约为40平方米，方便家庭成员共同居住。其中，所有的房间的玻 璃浴室内都可以欣赏到山间的景色。此外，精良的家具以及精美的材质更进一步突出了传统与地域的融合。 客户：tatang Hermawan Of P.t. Yuskitama Lestari 合作伙伴：Mr. Archica Danisworo, Planning & Development Workshop 1. 大幅的玻璃窗确保光线入射 2. 玻璃及天然石材打造的外观 1. 停车场 2. 入口 3. 休息区 4. 餐厅 5. 大堂 6. 卫生间 7. 商务区
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77 1 2 1. Restaurant seen from the pool area at night 2. Feature structure in the lobby 3. Grand lobby with feature structure and scuptural staircase 1. 夜色下的餐厅及泳池 2. 大堂内特色结构细节 3. 大堂及内部特色结构与雕塑般的楼梯
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79 1. Lounge 2. Conference 3. Deluxe room with king sized bed 4. Beautiful sunset seen from the suite 1 2 1. 休息区 2. 会议室 3. 大床双人套房 4. 落日余晖下的套房
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81 Hilton Baltimore Convention Centre Hotel Location: Baltimore, Maryland Architect: RTKL Associates Inc. / Mckissack & Mckissack Photographer: RTKL Associates Inc. /David Whitcomb Completion Date: 2008 The City of Baltimore knew a new convention centre hotel on a highly visible site downtown would not only benefit from but also positively impact the surrounding neighbouring attractions including the Baltimore City Convention Centre, Oriole Park and Camden Yards. As part of a consortium led by the Baltimore Development Corporation, RTKL designed the 757-room Hilton Baltimore Convention Centre Hotel to accommodate an unyielding influx of area guests. The hotel, which contains a 200-seat three-meal restaurant, a 90-seat lobby bar and 60,000 square feet of conference and pre-function facilities, is poised to play a key role in the continued success of the Pratt Street and Inner Harbor Entertainment and Convention Centre District. To take advantage of this unique position, the design team aimed to create and enhance the pedestrian experience and flow from the convention centre and to Camden Yards. Civic spaces and defined urban edges are critical components to defining the area, which long lacked cohesive commercial activity and animation. The hotel's exterior skin was designed to embody Baltimore's complex personality, hinting both backward and forward. Red brick façades wrap the building's lower floors and establish visual connection with the historic brick warehouse across the street that serves as a backdrop to the Ballpark at Camden Yards and with the traditional rowhouses that line the residential neighbourhoods to the west. If brick serves as a nod to the past, the metal cladding makes a more overt nod to the future — calling to mind Baltimore's industrial bulwark while also offering a modern edge that relates to the sleek hi-rises bordering the site. The interior continues the sense of openness and visibility that drives the public spaces. Arranged to limit barriers between interior and exterior, the lobby and public areas provide constant but unobtrusive visual interest and activity. 1. Open air courtyard and transit access 2. Main entrance 3. Red brick contrasting with metal cladding 1 2 巴尔的摩希尔顿会议中心酒店 项目地点：马里兰，巴尔的摩 建筑师：RTKL事务所 摄影师：RTKL事务所/大卫·惠特科姆 完成时间：2008年 巴尔的摩迎来了一个全新的建筑——希尔顿会议中心酒店——坐落于市区显著位置的地理优势不仅使酒店 本身受益，同时更带动了周围景区（巴尔的摩会议中心、金英公园及卡姆登球场）的发展。 RTKL事务所是巴尔的摩发展公司旗下的成员之一，负责这一拥有757间客房的酒店的设计，目标即 为吸引大量的客人。酒店位于普拉特街及内港娱乐及会议区（Inner Inner Harbor Entertainment and ConventionCentre District）内，包括容纳200人就餐的餐厅、90人共享的酒吧以及5574平方米的会议中 心，这无疑奠定了其在周围地区的发展中所处的重要位置。为充分利用这一优越的位置，设计团队注重营 造并强调“路人体验”（从会议中心步行到卡姆登球场）。对于这一缺乏商业活动及活力的地区来说， “市民空间”及“城市优势”构成了重要因素。 酒店外观展现巴尔的摩的精致风格——红色砖墙外观“包裹”着建筑的底层，与周围古老的砖石仓库结构 及排房住宅形成视觉连续感。如果深红砖石是对过去的“呼应”，那么金属覆层即为对未来的“召唤”， 在体现了巴尔的摩工业时代特色的同时，更突出了现代时尚的气息。酒店内部延续开阔感和可视性，同时 为尽量打破内外的界限，大堂和公共区的设计注重连续、无障碍视觉特色。 1. 露天庭院及入口 2. 酒店主入口 3. 底部红色砖石结构与上部金属覆层的鲜明对比
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83 1. View facing north outside Oriole Park at Camden Yards, home of the Baltimore Orioles baseball team 2. Modern connecting bridge over Eutaw Street with view of the historic Bromo Seltzer tower 1 1. 朝向金英公园及卡姆登球场的一侧 2. 横跨Eutaw大街的现代风格桥梁及Bromo Seltzer塔景
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86 1. Prefunction area outside main ballroom 2. Floor to ceiling glass windows limit barriers between interior and exterior in public areas 2 1. 主要舞厅外的宴会接待区 2. 落地玻璃窗
87 Location: Ekaterinburg, Russia Architect: Valode & Pistre Architectes Photographer: Alexeï Naroditsky Completion Date: 2009 Gross Floor Area: 35,000 m2 Hyatt Hotel Part of Ekat City's ambitious urban development, overlooking a lake formed by the River Iset at the heart of historical Ekaterinburg, opposite the 'Church of the Saviour on Blood' raised on the site where the imperial family met its death, a site full of tragedy, passion and culture - this site is incredibly steeped in intensity and energy. The whole of the hotel's architecture was thus inspired by strong emotional ties with the site, both physical and spiritual, an inspiration which also pervades its operating principles, volumes and interior design. This panoramic curve marks the beginning of a successive wave-like movement throughout the building, metal and stone moving on to glass, characterising its silhouette and identity. Almost as though on a journey into the unknown, the visitor moves along with the wave leading from city density to the Church's light, discovering the latter's golden roofs after crossing the reception areas. All the essential areas of hotel-life interlink and connect, drawn together by a force reaching beyond mere practical necessities. At ground level, the reception lobby opens out onto the city and is the centre of appointments and activities. It provides various areas, from the most sophisticated to the most intimate, all along the length of a long wave of wood recalling the silver birch forests, with a monumental staircase leading to the vast areas dedicated to parties and functions as the hotel's central pivot. In these areas, the business centre becomes a huge ball room whose lofty glass canopies provide the public with a direct link to the surrounding landscape. Further up still, the restaurants are located in the curved volume of a slender column extended by balconies and facing the lake. Lining up naturally with this area nestles a place fostering meditation facing the Church: the "Candel Bar". The pool, spa, hamam and sports area floats above on the 20th floor like a walk above the misty Ural landscape, in lofty areas embracing the curves of the glass façade, a smooth, crystal-like shell reminiscent of the Ekaterinburg ice sculptures. And finally, the rooms – the hotel's fundamental purpose – are completely open with glass from floor to ceiling and wall to wall. The utmost in comfort, protected from winter chill at 35 centigrade below zero and summer heat rising to 35 centigrade. Thanks to a triple-glazed façade with mechanical air flow, these rooms create a unique and memorable link with the site for each occupant. 1. Distant view seen from the snowy ground 2. Panoramic curve 1 君悦酒店 项目地点：俄罗斯，叶卡特琳堡 建筑师：VP建筑设计事务所 摄影师：Alexeï Naroditsky 完成时间：2009年 建筑面 积：35,000平方米 君悦酒店选址在叶卡特琳堡市开发区内（一个悲剧、情感与文化交融的地区），俯瞰伊谢季河（River Iset）流域的城中湖泊，与基督喋血大教堂（Church of the Saviour on Blood）相对。其设计正是源于这一 地区所特有的浓烈的情感（物质上或精神上）。 酒店外观呈现弧形，犹若移动的海浪，金属和石材在玻璃表皮上“游动”，勾出了清晰的轮廓并使其成为 这一地区的标识建筑。客人沿着“弧形”探索，犹如开始了一次“神秘之旅”，经过接待区之后，城市的 喧嚣渐渐隐去，映入眼帘的是对面教堂的金色屋顶。酒店内所有的功能区相互连通，似乎有一种无形的力 量支撑着。 一层内，大堂面向城市开放，是酒店内各种活动的聚集地。不同的功能区全部沿着波浪形木墙排列，让人 不禁想起白桦林。宽大的楼梯一直通往用于举办各种聚会的特色空间并成为了大堂内的特色元素。 泳池、水疗馆、汗蒸室及运动区全部设置在21层。客人在这里仿若漫步在轻雾弥漫的苏拉尔河边，平滑而 透明的外壳恰似城市内极具特色的冰雕。客房全部采用落地窗，视野开阔。三层的玻璃表皮既阻挡了冬季 零下35度的寒冷又阻止了夏季35度高温的灼晒。每一间客房的设计都突显出当地的历史特色。 1. 雪地中的建筑远景 2. 建筑弯弓状造型
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89 1. Metal, stone moving onto the glass 2. Building seeming to emerging from snow 1 1. City view suite 2. Twin deluxe 3. Corridor 4. Junior suite 5. Twin suite 6. Disabled room 7. King rooms 1 4 3 4 5 7 Third floor 7 5 6 7 7 7 7 7 7 7 7 7 5 5 4 2 3 1. 金属、石材及玻璃外观 2. 雪地里“升起”的建筑 1. 观景套房 2. 豪华客房 3. 走廊 4. 普通套房 5. 双人套房 6. 残疾人专用客房 7. 总统套房 三层平面
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92 1. Reception 2. Guestroom 3. Bathroom 4. Indoor swimming pool 2 4 3 1. 接待台 2. 客房 3. 卫生间 4. 室内游泳池
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94 2 1. Red illumination fixtures suspended from the ceiling corresponding with the red chair 2. Lounge 1. 餐厅内红色灯饰悬垂下来，与红色的座椅交相呼应 2. 休息室
95 Location: Hollywood, the USA Architect: Janson Goldstein LLP Photographer: Mikiko Kikuyama Completion Date: 2009 Gross Floor Area: 16,722m2 Andaz West Hollywood This project is the North American launch of Hyatt's new brand, Andaz. The hotel sits on the Sunset Strip adjacent to the Hollywood Hills with views overlooking the Los Angeles basin that stretch from downtown Los Angeles to Santa Monica. The property has been completely upgraded from top to bottom. Andaz West Hollywood is an unique and quintessentially Los Angeles experience that is timely, distinctive, contextual and modern. It contains conscious echoes of the hotel's well documented past and its landmark role in the larger cultural and sociological landscapes of the city. Built in the early 1960s', the property itself was formerly known as the Continental Hyatt House (a.k.a The Riot House). This is where Jim Morrison lived, and Robert Plant tossed a television out the window. It has a singular place in rock and roll history. In the 1960s' and 1970s' it was the scene of originality and of a musical and cultural explosiveness. The hotel's past energy finds its expression via a back-lit psychedelic image which spans the lobby. Its one element of many that links the property to its rich history. The property now enters a new chapter in its own history - yet to be written. Janson Goldstein's concept for the hotel included enclosing all the balconies on the hotel's southern exposure with floor to ceiling glass, creating premium open plan inspired guestrooms with sweeping views of the city - a gesture suggestive of the famous Case Study houses found in the Hollywood Hills. The interior concept was to connect classic Los Angeles modernism with the architecture of the present. The furniture selection, therefore, is a mix with origins from the 1950s' to present day. A new 'Glass Pavilion', framed in skeletal steel, extends RH, the hotel's bar and restaurant out onto the Sunset. The space becomes a shared experience between the public and private realm. The pavilion's internal activity becomes part of the strip's landscape, and its form and language are suggestive of the modern design and architecture found in the Hollywood Hills, and work captured in the photographs of Julius Shulman. The pavilion features a custom tumbled mosaic patterned floor inspired by the work of Erwin Hauer and Roberto Burle Marx and an art installation on its exterior by the Los Angeles born artist Jacob Hashimoto. 1. New glass pavilion 2. Night view 3. South glass façade 4. Distant view and surrounding 1 2 安德斯西好莱坞酒店 项目地点：美国，好莱坞 建筑师：詹森·戈德斯坦设计公司 摄影师：Mikiko Kikuyama 完成时间：2009年 建筑面 积：16,722平方米 安德斯（Andaz，凯悦酒店旗下新品牌）西好莱坞酒店位于日落大道上，临近好莱坞山区，俯瞰洛杉矶盆 地，提供适时独特、典型现代的洛杉矶体验。酒店本身囊括了过去的美好记忆以及其在城市文化背景和社会 活动中所扮演的里程碑式角色。 酒店建成于20世纪60年代初期，之前一直被称作“凯悦酒店”，吉姆·莫里森居曾居住在此，罗伯特·普 兰特也曾在这里将电视机扔出窗外，摇滚音乐的踪迹也在这里可循。在60、70年代原创、音乐和文化大爆 炸的时代里，酒店大堂内背光照明的画作更是在这里找到了安家之所，并记载了过去的丰富历史。现今这一 建筑开始了它历史上的新篇章，仍需等待记载。 改造的总体理念包括：酒店南侧阳台全部采用玻璃材质饰面、打造开放式客房格局，引入壮丽的城市景致 （西好莱坞山区典型的居住空间设计样式）、融合室内空间的现代主义风格与建筑现有特色、拓宽家具选择 范围——从50年代款式到现代风格一应俱全。 新建的玻璃结构四周采用钢材框架加固，将酒店内的餐厅和酒吧一直延展到日落大道上，在公共区和私人 空间内营造一个过渡。内部设计使其完美融入到整体背景中，独特的样式及设计语言更是突出了好莱坞山 区典型的现代风格。定制的马赛克图案地面从著名画家欧文·哈尔（Erwin Hauer）和罗伯托·伯利·马克 斯（Roberto Burle Marx）的作品中获得灵感，而外面的艺术装置则出自大艺术家雅各布·桥本（Jacob Hashimoto）之手。 1. 新建玻璃结构 2. 夜景 3. 南侧玻璃外观 4. 远景及周围环境
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97 260 room guest tower Rooftop terrace and pool New glass façade New lobby, restaurant and bar New glass pavilion 1 1 4 2 3 5 6 1. Lobby 2. Lounge 3. Private dining / Wine cellar 4. Bar 5. Dining 6. Open kitchen 260间客房 屋顶露台及游泳池 全新玻璃外观 新建大堂、餐厅及酒吧 全新玻璃门厅 1. 大堂 2. 休息区 3. 私人餐厅/酒窖 4. 酒吧 5. 就餐区 6. 开放式厨房
98 1. Outdoor resting area and pool 2. Rooftop resting area overwing the whole city 3. New glass pavilion incorporating restaurant and bar 2 3 1. 室外休息区及游泳池 2. 屋顶休息区可俯瞰整个城市 3. 新建玻璃结构内设置着餐厅及酒吧
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